This week, our partnership with game criticism site Critical Distance brings us picks from Eric Swain on topics ranging from the legend of Polybius to a response to Blake Reynolds on the contemporary reception of pixel art.
The Look Back
Starting off today we take a look into the past.
Richard Moss wrote a feature at Polygon on the very first First Person Shooter, Maze Wars, talking with the people who were there. Meanwhile, Jeffery Matulef at Eurogamer, explores the legend behind the maybe government experiment, maybe not real arcade cabinet Polybius and those making a documentary about it.
Bryant Francis at Gamasutra asks, “Where in the world did the blockbuster educational games go?” Mostly it focuses on the companies that managed to balancing the earning with good, not-boring game design and what happened to those studios through the 90s.
And Richard Cobbett doesn’t go quite as far back to postulate exactly why Doom 3 doesn’t work both as a classic that its predecessors were or as a game of the trends of its time.
Meanwhile in a new Critical Switch episode, Austin C. Howe takes a look at another form of nostalgia, a longing for a past that never was, at what benefits such a goal could mean for games, as seen through the lens of Shovel Knight.
Additionally, Critical Switch hosted a guest episode by Devon looking at the JRPG genre and what underlies it beyond numbers and skills.
The Identity
Who are you? Who, who?
At Femhype, Shel Shepard wrote how representation matters through the example of Krem in Dragon Age: Inquisition and how it’s more than just being in the work, but being a convincing part of it.
Bianca Batti, writing for Not Your Mama’s Gamer, looks at Alien: Isolation and how it genders the player activity of inaction as female in deference to many other examples where such design and progression of abilities may not be accepted with a male character.
Kaitlin Tremblay writing for Dorkshelf talks about her choices in characters and classes in Borderlands she feels more comfortable with the non apologies hulking brutes than with the crafty Sirens.
Brendan Keogh typed up a version of a talk he gave at DiGRA, using Binary Domain as a launching platform to explore the concept of cyborgs and binaries established early on between hackers and the other in the video game communities.
And writer of the upcoming adventure game Herald, Roy van der Shilden reflects on the challenge of telling a story that is both universal and personal as well as about a person who is not him. He did a lot of research into the effects of colonization, struggling to find the voices of the colonized instead of the colonizer.
The Game Messages
What a game has to say for itself.
Mark Filipowich explores what he calls, “The Ludic Rashomon.” He went looking for examples in order to dissect the craft of a Rashomon story in video games and what they say about subjectivity.
At PopMatters, Jorge Albor looks at Bloodborne as a representative of our human want and need to learn from our mistakes. He also takes umbrage that reviewers should have warned “regular people” it wasn’t for them, wondering what that term is supposed to mean.
Eron Rauch continues his series “Bridging Worlds” at Videogame Tourism by comparing the veracity of the cultures in Ready Player One and Gone Home and how they represent their larger world.
Carolyn Petit on her tumblr, A Game of Me, explores the meaning behind keeping the two occupants of the apartment in Sunset separate. At first it seems a cheat to the potential message about class and race, but instead turns into a story of feeling intimacy.
The Critical Sphere
Self reflection in the face of discord.
Heather Alexandra expresses our current model of interaction as a critical community as a “Broken Discussion” and the main reason medium as a whole remains in arrested development.
As if to prove it true, Catherine Ashley at Girls on Games, comments on the controversy surrounding Arthur Gies’ review of The Witcher 3. One industry person calling the review “poisonous to the industry: to gamers, to game developers, to game journalists” all because it brings up ideas for consideration.
Meanwhile, Cara Ellison says goodbye to the “new wave” of games criticism, whatever that means. She doesn’t quite know, so she supposes a meaning and works from there. Goodbye, Cara, and good luck in your future endeavors.
The Culture
How gaming sees itself verses how it actually it.
Bob Mackey wrote “The People vs. ‘Nerd Culture’” for US Gamer. He uses Simon Pegg’s recent words about the co-opting of this demographic term to explore the insidious nature of “nerd” as a false identity in the present culture.
Holly Nielsen, at The Guardian, explains that the game industry does indeed have a dress code despite the more free wheeling image it likes to present and the pressure that invites to anyone outside of narrow ideas of masculine dress.
G. Christopher Williams at PopMatters says that what is missing in competitive video games in an inherent behavior of sportsmanship: “In a sense, League of Legends players lack good coaches, who step in to define the boundaries and etiquette of competition, not just how to play the game.”
The Grab Bag
And the rest…
We’ve heard the argument before how big Kickstarters take money away from indies and the numbers that prove that argument to be hyperbolic at best. However, Katie Chironis approaches the issue from a different angle, one we are just starting to see the effects of, how it may not be damaging directly, but how the big Kickstarters distorts how much it takes to make a game making it harder to the little projects that don’t have the institutional support.
Though, Rob Remakes counters that a lot of the problem of perception aren’t as big a problem as its made out to be because it’s always been there. If anything, Kickstarter has made the process the least opaque it has ever been. That, plus the view and use of Kickstarter is vastly different to the audience than it is to developers.
Responding to Dinofarm Games’ Blake Reynolds and their renouncing of pixel art, Brandon Sheffield explains why Necrosoft Games will not being abandoning the art style.
Anna Jenelius gives a primer entitled “Armor for Dummies and/or Game Developers” to explain logistically the major and minor problems with game armor.
And finally, Devin Vibert explains his awesome practice of creating music for the tabletop game sessions they just played over at Memory Insufficient.
The End Times
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Source:This Week in Video Game Criticism: From Polybius to pixel art